A reliably committed lead performance ignites a mostly enjoyable, often timely, take on the HG Wells story that falls apart in the final act
While some would argue that the worst thing to have spawned from Marvel’s extended cinematic universe is an overreliance on the superhero genre in general, there’s been something arguably more damaging at play. The unprecedented commercial success of the interconnected, multi-branched nature of the MCEU caused other studios to crave similar long-term profits and so franchises suddenly grew exponentially, in every possible direction, whether they needed to or not. The most disastrous example of this came from Universal who saw the trend as a way of relaunching and combining their many monster movies as part of the newly coined Dark Universe. A logo was released along with a promotional image of cast members from films that hadn’t yet started production, an ambitious yet ultimately foolish gamble given that the first of these, 2017’s The Mummy, was then rejected by audiences and critics.
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